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SQUINTS PALLEDOROUS

VANCOUVER’S MOST SECRETIVE SONGWRITER

Who is Squints Palledorous? This local songwriter releases her music from behind a veil of anonymity, not sharing any photographs or even her real name.

Her debut album, The Great Bambino, was released this fall on cassette via Boat Dreams. The collection’s low-key, reverb-drenched pop songs and electronic beats were intriguing enough to make us want to learn more, so we contacted Squints with some questions via email. The takeaway from this little Q&A? She’s shy, naturally secretive, and horribly disfigured.

BR: Why did you name your project and album after the 1993 film The Sandlot?

SP: I’ve always admired Michael Squints Palledorous’ bravery — it’s something I lack. I was a cautious child and Squints became somewhat of a personal hero for me. Plus, I felt that the naivety of The Sandlot mimics the naivety of my music.

BR: How did you record these songs and how did the album come together?

SP: I used to have a really shitty synth that supplied my musical outlet — but I lent it to someone who died and it felt too insensitive to ask for it back. So, I started using GarageBand instead. Each song is written and recorded in about one hour, two hours tops.

BR: Is this your first musical project, or have you played in other bands?

SP: First one! I’m not actually musical; I’m just faking it.

BR: What inspired these songs?

SP: Each song is individual — I didn’t have a grand scheme when making these songs…nobody was supposed to hear them. So there’s no general theme. Most songs are about family and the unconscious mind.

BR: Did you play and record everything yourself?

SP: Yeah. Chris van der Laan from Boat Dreams From the Hill helped compile them in such a way that makes sense, though.